Author: ifmyalbumscouldtalk

1985 ended up being a pretty stressful year. It began with a wedding in February, having a baby in July (yeah, I know) and starting my internship two days after my older son was born. Plus, I had graduated in May, on the very same day I was a groomsman in my former roommate’s wedding. We were all jumping headlong into adulthood, whether any of us were ready or not.

Needless to say, my album purchases were curtailed quite a bit as the need for diapers, food and all living expenses trumped my little hobby. We lived in a scary little apartment in Anderson, Indiana, as I did my year-long internship at St. John’s Medical Center School of Medical Technology. As you can imagine, though nowhere near as bad as what physicians have to do, I was totally immersed in lab work and schooling. Every day, we came in at 5:00 am to help the phlebotomists do the morning blood draws. When we completed those, it was off to our assigned laboratory department to learn all the testing done there. For six hours, we first had to do “shadow” testing on specimens which had previously been tested by your teaching tech. And, your results better be as close to the reported results as possible or your had to retest the sample all over. Of course, the tech got to do the automated technique which is quick and accurate, while we did the manual test in which the automated test was based. After completing about 10 samples accurately of each test in that department, then you got to work with the machine under supervision for a day. This went on five hours a day, five days a week. Then, we got to go to lunch, where the 11 of us sat around bitched, laughed and compared notes.

After lunch, we would return to the classroom for three straight hours of lectures on the theories behind each test; learn about the physiology, chemistry, anatomy and pathology of the testing we were doing and learn to think like a physician, even though we would rarely, if ever, use that capability in the clinical setting. Looking back, it was time-consuming and tiring and, dare I say, boring, but at least I got to go home to a family. After about six months of this routine, I took my first job in the lab. I was the person who received, logged, prepped, stained, cover-slipped, labelled and arranged PAP smears for the pathologist to read. Of course, the slides were gross, but it was a pretty easy job. Plus, I could study while the staining procedure, which was not automated back then, was going on. Overall, the whole process took three hours to complete, which meant I was getting paid way more in that time period than I would have delivering pizzas for six hours four nights per week. And, it was an impressive line on my resume. Oh, and I gained the respect of many of the same techs who would become my colleagues five years down the road.

Yet, during that year, I still read my Rolling Stone magazines and going to the local record store to hear the latest releases, even if I couldn’t purchase them. The clerks were very sympathetic to my situation. Plus, they liked it when my little rocker-in-training came in with me.

So, let’s get on with the music! 1985 it is.

a-ha – Hunting High and Low (1985). Unfortunately, in America, a-ha is considered a one-hit wonder with their great single “Take on Me.” But, this Norwegian synthpop band was much more than that song, especially on their debut album. This band had way more going for them than that great single. a-ha continues to be a huge presence in Europe.

Camper Van Beethoven – Telephone Free Landslide Victory (1985). How does one describe Camper Van Beethoven without that description being misconstrued? Allow me to at least give it a go. If the Grateful Dead had started after the punk explosion, taken more mushrooms than LSD, grown up in Southern California, had a wicked sense of irony-based humor in the vein of David Letterman, they MIGHT sound like CVB. And, yet, that is way too limiting. CVB was a favorite of the guys in R.E.M. Part of the band became Nineties alternative darlings Cracker, whose bass player is now a part of Elvis Costello’s Imposters backing band. Personally, I’ll just let their fantastic single “Take the Skinheads Bowling” speak for itself.

Dire Straits – Brothers in Arms (1985). Dire Straits made some outstanding albums during the years between the debut and this one, but none resonated with the public as this album did. You just could not escape it. Of course, the album is remembered for “Money for Nothing” and Sting’s vocal hook “I Want My MTV.” There for a while, this album was consider to be the greatest album of all-time in England. I think the public was just a little caught up in the moment, but it is awfully good.

Eurythmics – Be Yourself Tonight (1985). Who said that new wave, synthpop, soul and hard rock could not coexist in a musical sound? Well, the Eurythmics made it all happen on this album. This was their most commercially successful album and spawned a handful of hit songs. But none were as cool as “Would I Lie to You?”. Though the Annie Lennox/Aretha Franklin duet on “Sisters Doin’ It for Themselves” was pretty close.

Fine Young Cannibals – Fine Young Cannibals (1985). In 1984, the English Beat splintered into two great bands, General Public and these guys. While General Public had the main vocalists of the former group, Fine Young Cannibals had the creative forces plus a terrific young vocalist they discovered. Of course, FYC had the bigger commercial success, however fleeting it was. I first saw these guys on the old David Letterman show doing their excellent cover of the Elvis Presley classic “Suspicious Minds” and was immediately hooked. FYC remain one of the great lost bands of the Eighties.

Heart – Heart (1985). Honestly, I have mixed feelings about this album. While it sounds great and was a big seller for a band I love, the songs were forced on the band. Oh sure, they played the hell out of these songs from outside writers and made some very sexy videos for them. Still, I was sad for these great women being made into pawns of the industry. Yet, they triumphantly complied then re-exerted themselves afterwards to show they were never complete sellouts. They were simply backed against a wall and came out kicking.

Hüsker Dü – Flip Your Wig (1985). 1985 was a huge year for Hüsker Dü, with two albums and a single cover of The Byrds’ psychedelic classic “Eight Miles High.” Flip Your Wig was the band’s second album released that year. This time the band embraces their love of Sixties pop music, so this album sounds like a pop album being played as a punk album. The big song is Bob Mould’s Eighties classic that rings true today “Makes No Sense at All.” If I were Joe Biden, I’d be playing this song at every campaign stop.

Hüsker Dü – New Day Rising (1985). The first of two classic albums released in 1985, New Day Rising represents the band honing its songs to sound even more relentlessly vicious than those on Zen Arcade. Yet, this album also stresses the songs’ melodic sides, making this something of a hardcore pop album. It was as if the band were gearing up for Flip Your Wig on this album.

John Cougar Mellencamp – Scarecrow (1985). Well, John finally did it! He created an album that was both innately universal and very Hoosier at the same time. The problem is that most Hoosiers (it’s the nickname for those of us from Indiana and no one knows why) totally missed out on the condemnation of conservative principles that caused the farmers’ plight back then which continues today. Many consider this album to be his best, while I believe John was only building the foundation for the true vision he will display later.

Kate Bush – Hounds of Love (1985). Finally, Americans embraced the expansive sound of the great Kate Bush. It took a fantastic single in “Running Up That Hill” for Bush to crack our market, but the rest of the album is simply downright consistently terrific. If the States could take to the campiness of Queen in the Seventies, why not the poetic art rock musing of Kate Bush in the Eighties? I’m sold!

And that wraps up Day 1 of 1985. Peace!

Let’s get rolling with the rest of my favorite albums from 1984.

R.E.M. – Reckoning (1984). If you were expecting more abstract art rock from the Athens, Georgia boys, then you did really understand the band. In concert, these guys rocked out loud and often. In the studio, they played around with textures and soundscapes. On their sophomore release, R.E.M. got a tiny bit more direct, while still mixing their Velvet Underground/Byrds/Patti Smith fetishes with a touch of southern Gothic to create a more mature step forward. They were the musical change that sprouted big time in seven or so years.

Sade – Diamond Life (1984). Little did we realize at the time that the beautiful and talented Sade would still be periodically pulling our heartstrings with her wonderful mix of jazz, Seventies soul and a smoldering coolness for decades to come. This is the album that captured us forever. Since she takes years between albums, her sound never goes out of style, but the general public unfortunately forgets about her greatness.

Sheila E. – The Glamorous Life (1984). Most thought Sheila E. burst on the scene with a little help from Prince’s alter ego Jamie Starr with this album and title song. But, don’t forget that Morris Day and Jerome Benton threw her in the garbage bin near the beginning of Purple Rain, which she proved immediately was not her destiny. The cool thing about this album was that she added a Latin touch to the Prince’s Minneapolis Sound, as well as some horns. Of course, when a protege finds success, Prince finds a way to co-opt that sound and put it into his by eventually adding Sheila E. to his 1986-1989 touring band.

The Cars – Heartbeat City (1984). After three good but not great albums, The Cars hooked up with rising star producer Matt Lange to create the second best album in their catalog. Additionally, the band upped the ante by coupling the singles on the albums with some of the most endearing music videos of their career. Not only were those videos endearing but they pushed the boundaries of rock videos to works of art in their diversity and brilliance. Unfortunately, the band was also falling apart just as they reached their commercial pinnacle.

The Pretenders – Learning to Crawl (1984). By the end of 1982, singer/songwriter Chrissie Hynde was standing with half of her band dead due to drug overdoses. And, instead of packing it in, Hynde turns around and pour her soul into the songs on this album. Turns out that Chrissie was a survivor, along with original drummer Martin Chambers. This album is all about the band finding the strength to continue onward.

The Replacements – Let It Be (1984). Back in 1984, Minneapolis was a musical hotbed, but not simply because Prince was from there. Besides the Purple One and his coterie of funkateers, there was a vibrant punk scene that included Hüsker Dü and this band of lovable drunk losers called The Replacements. On the band’s previous two albums, they dabbled in a very loose form of punk rock. And, then, this album was dropped, which had the whole Ball State campus buzzing. Of course, the band was based in punk, but they took turns dipping their toes in country, Stones-influenced rock, teenage boy humor and even a Kiss cover. The Mats were just the tonic for the Eighties.

The Smiths – The Smiths (1984). In the US, college kids had R.E.M., and, then, the UK got their jangling guitar band in the form of The Smiths. But, the Smiths were influenced more by the early-Seventies British glam rock scene than the NYC punk scene, which made for some very exciting music. Quickly, The Smiths became the English alternative rock counterpoint to R.E.M., making for a brief but media-hyped competition between the two bands. If you continue to call this music “mope rock” you are totally missing singer/lyricist’s sense of humor.

The Style Council – My Ever Changing Moods (1984). So, Paul Weller breaks up The Jam just as they were on the cusp of taking over the world so he could dive headlong into a heady mix of Mod soul and Europop that became one of my favorite bands of the Eighties. Much like The Beatles, The Style Council’s first couple of albums were a different mix of songs than what was released on the other side of the Atlantic. Therefore, I got way too used to this order rather than that of the European version called Blue Café. Plus, this album has the version of “You’re the Best Thing” that is my wife’s and my song.

The Time – Ice Cream Castle (1984). So, by the time this album was released in conjunction with Purple Rain, original band members Jimmy Jam, Terry Lewis and Monte Moir were gone, replaced by competent albeit nondescript musicians. Still, this album blew up big time behind the immortal singles of “Jungle Love” and “The Bird.” Not a band album, but this lineup was a step down from the original.

Tina Turner – Private Dancer (1984). This album just might be the greatest comeback story in rock music history. Turner had gained fame as a member of the duo Ike and Tina Turner. Unfortunately, Ike was a controlling and abusive ass, so Tina bolted as a battered woman. Slowly, she worked her way back into prominence, with the help of some young hotshots like the members of Heaven 17 and Dire Straits mastermind Mark Knopfler to craft one landmark album. Seriously, any album that contains a cover of “Let’s Stay Together,” “What’s Love Got to Do with It” AND the title song deserves a place on this list.

U2 – The Unforgettable Fire (1984). Seriously, was anyone anticipating U2 beginning to incorporate subtle esoteric guitar soundscapes? I mean, just last year, they were rocking nearly as hard as any metal band, and now they are going all Cocteau Twins with Edge’s guitar screeching and soaring to places never touched over a bedrock rhythm section still firmly grounded in traditional Zeppelin-ish rock. The album was mind-blowing at the time, but it set U2 up for their megastardom within a couple of years.

Van Halen – 1984 (1984). Van Halen was always the party band of my generation. But, now, EVERYONE was partying with them. They took metal in a non-cartoon-ish direction. David Lee Roth was more of a game show host than a lead singer, while Eddie Van Halen, fresh off his “Beat It” cameo, smiled instead of grimacing in a fake orgasm as he shredded his guitar. And, all the while, bassist Michael Anthony and drummer Alex Van Halen laid down some of the most solid rhythm ever. Once again, VH combined humor and metal with some strong pop hooks to create a timeless sound. However, I still want to punch the guy in the dorm who played “Jump” over and over and over for three straight hours! Nobody wants to hear someone do that to any song!

And, folks, that wraps up 1984. While not as deep as other years in the Eighties, it still had some very strong albums. See you next time! Peace.

Up through the summer of 1984, life was still pretty carefree. After that, it was the stress of graduation, marriage, my internship, my old roommate’s wedding, finding a place to live and all the other crap that comes along with “growing up.” But, man, I packed a lot of living into those first eight months of that year. Most notably, I got the experience of riding in Bike-A-Thon on a team of complete rookies that made a big statement for those two-weeks of qualification, daily interviews with the school paper and, finally, the race itself. And, all of that was awesome, but it did not compare to winning the campus intramural basketball championship.

You see, when the season started, I began on our dorm’s B team, which was okay. But, I knew I could play on the A team. Their reasoning was that these guys had been playing together for two years and felt they had a shot at the championship. So, when the tournament rolled around, I played two games early in the morning on a Saturday in January. I had two decent games, scoring 10 and 15 points in the games, but our team got ousted by some pretty good teams.

As the second game was ending, I went on an eight-point tear in the last minute to bring our team within three points as the game ended. After the game, some of the guys on the A team came up to me and asked me to play in the rest of the tournament that day because their shooting guard was injured. So, I stepped in never realizing I would be starting. We were playing the defending campus champions, and they were focusing on our 6’8 offensive lineman, who later had a cup of tea in the NFL with the Packers, and our 6’5 defensive end who would later be signed by the Kansas City Chiefs. Plus, we had a silky smooth point guard who called himself “Magic.” Our small forward was my 6′ roommate.

The great thing about playing with guys who know how to play basketball is that they understand how to move the basketball to the open player, having the confidence they will make the basket. So, when the big went into our big guys, they would kick it out. Since the other team didn’t know me, I was left open all day long. That meant I was playing horse in the driveway all by myself again. The absolutely dumbest thing is that those guys let me torch them for three quarters as I racked up 28 points. By the fourth quarter, when they finally stuck someone on me, we were up 20 points. It was then that things got fun, as I would simply give a shot fake, drive and kick to one of the bigs, and the game was essentially over. Now, it was on to the championship game.

In the championship game, the other team was way too focused on me, which left the big guys open on reverse passes. I did score in double figures but not like that first game. It was so fun to play with guys that caliber. If I am expected to be the best player on my team, we are in trouble. But, when I am the third option, that’s when I can be dangerous. Fortunately, we had four terrific athletes that took the pressure off of me. And, by playing team ball, we won the championship. The best part was the other four said they wished they had played with me all season long, which was pretty cool of them.

That happened to be the last real competitive basketball game I ever played in. Sure, I played against college kids in Oxford, Ohio, all the time, in addition to being in some leagues in my late-twenties and early-thirties. And, of course, I played with other teachers and old guys every morning for a couple of years and in student-faculty games. But, those were just to “stay-in-shape” games, not at all early-twenty-somethings going at each other. Of course, I did spend that evening in and out of ice baths trying to flush the lactic acid out of my legs. But, it was worth it, getting another championship during that junior year.

But, man, 1984 had some terrific music! After the success of Thriller, it seemed like the industry was primed for the mega-selling albums that spawned about half-dozen hit singles. Lester Bangs’ worst nightmare was coming true as rock music had become a commodity.

So, let’s get this ball rolling.

“Weird Al” Yankovic – In 3-D (1984). Other than maybe Cheech & Chong, no other comedy person did more for rock music than did “Weird Al.” If your song was not parodied in some manner by this genius then your song did not matter in our culture. But his true brilliance was seen in the shot-for-shot parody of Michael Jackson’s “Beat It” video, which, of course, was titled “Eat It.” And, this album represents Yankovic’s finest moment, though that one is truly difficult to ascertain since he has maintained his excellence throughout his career. Still, to this day, I will lobby for his “Polkas on 45” as he definitive statement as he set classic rock staples to polka music in medley form. There should be a place in the Rock & Roll Hall of Fame for the clown prince of rock, “Weird Al” Yankovic!

Bruce Springsteen – Born in the U.S.A. (1984). There was a time when Bruce Springsteen was one of the five biggest stars in the universe, and that time lasted from 1984 through 1986. This album made him a star amongst stars, but it was the adjoining tour that sent him through the roof. Everything he had worked for came to fruition on this album that is full of great songs, great playing and great energy. And if you strip away all of the hit songs, “Bobby Jean,” his ode to Little Steven Van Zandt, who was about to depart the E Street Band for a solo career, remains the best song on the album. And, I will always have a special place in my heart for “Dancing in the Dark,” which I used to describe as The Boss doing his best Duran Duran impression. Lastly, will someone PLEASE read the lyrics to “Born in the U.S.A.”? It’s not exactly the biggest ringing endorsement of conservatism.

Bryan Adams – Reckless (1984). You know, I will be honest. I loved Bryan Adams’ first two albums and was excited for this one to be released. Initially, the album let me down. Then, for some reason, maybe it was just the whole Heartland Rocker moment, but this album blew up. And, now that we are sneaking up on 40 years onward, I find the album to be pretty good. And, I have always loved that he teamed up with Tina Turner on “It’s Only Love.”

Cocteau Twins – Treasure (1984). For the uninitiated, Cocteau Twins are a English band that was integral in the development of a strain of alternative music now referred to as “dream pop.” Their music is ethereal and relaxing, yet with enough of an edge to engage some of the most ardent hard rockers around. This band has not received the notoriety they deserve, as the cracked open a door that was followed by diverse artists as the Jesus & Mary Chain, My Bloody Valentine, Lush, and to a lesser extent, Sixpence None the Richer. They were definitely swimming against the sounds of the time by creating something absolutely timeless.

Daryl Hall & John Oates – Big Bam Boom (1984). The dynamic duo of the Eighties concluded their unprecedented run of high quality music with this hip hop-influenced album. Maybe the boys were simply worn out by this point, but you can tell they were ready to pull back a bit and reduce the craziness that had been created around them. In retrospect, when compared to the other albums during this fantastic run, this album seems like they relied upon studio wizardry to cover up some songs be a little below their standards. Regardless, “Out of Touch” remains a milestone.

Echo & the Bunnymen – Ocean Rain (1984). The Bunnymen made a great debut, then experimented a bit on their sophomore release by adding some Cocteau Twins-like touches. But, everything came together beautifully on this third album. The cut to remember is the majestic and haunting “The Killing Moon,” which throws a large shadow over the rest of the album, however unfair that is. This is an ornate and intricate album that has subdued guitars, evocative strings and the Jim Morrison-like vocals of Ian McCullough.

Frankie Goes to Hollywood – Welcome to the Pleasuredome (1984). Through 1983 and into 1984, the Liverpool band Frankie Goes to Hollywood was making the largest musical waves since the Sex Pistols nearly a decade earlier. The band had released two classic singles in the Eighties milestone “Relax” and the overtly political “Two Tribes,” all of which were produced by the scolding hot Trevor Horn. Additionally, the band was something of a cultural phenomenon across the pond with their “Frankie Says…” T-shirts selling like hotcakes. So, when it was announced that the band’s debut album would be a double album, critics were immediately decrying this album before it every hit the retail market. Now that the dust has settled over the past 35+ years since its release, this is a pretty good album. Although it reeks of parachute pants, cocaine (though I have no idea what cocaine smells like), AIDS-era condoms and Eighties technology, it does so in nostalgic way.

Hüsker Dü – Zen Arcade (1984). The rock opera of the Eighties created by a hardcore band who never lost touch with their pop side. This was the first album that described the underbelly of white America as trickle-down economics swept the world. This is a brilliant album that fuses the sonics of thrash guitars with the speed of punk on amphetamines AND crack, while still remaining in touch with their inner Knack. Not a fun album at all, but one based in reality.

Los Lobos – How Will the Wolf Survive? (1984). Talk about a left-field hit! Even for the Eighties, who would have predicted that a band from East LA, who were predominantly Hispanic, would bring together a mix of Tex Mex, Americana, the bastardized rockabilly of X and pure Mexican culture to the mainstream? And, this represented the band’s full-length debut. Fortunately for fans of the band, this album was only a starting point for the band, as they went on a trajectory that is most comparable to Radiohead in its breadth. I really cannot say enough about Los Lobos.

Madonna – Like a Virgin (1984). This was the album that broke Madonna into the stratosphere. After this one, every little girl around the world was dressing like her. All of a sudden, we collectively let go of our Cyndi Lauper fixations and realized that Madonna would be our queen during the Eighties and beyond. Oh, and who produced this album? Nile Rodgers, of course!

Metallica – Ride the Lightning (1984). During a time when glam metal was beginning to exert its dominance over the rock world, along comes this little San Francisco metal band who played a new kind of sound that people called thrash metal. They sped up the Motörhead sound, put wild guitar playing into it, and simply rocked our minds. And, although their 1983 debut, Kill ‘Em All, caught the ears of the metal underground, this album was the one that propelled the band a bit above ground. This is the sound of Rush being sped up, steroided up and played very loud.

Minutemen – Double Nickels on the Dime (1984). Minutemen were yet another West Coast band that based their whole vision in the punk aesthetic. They were a very nimble trio of musicians who were able to shift from punk to the blues to jazz to all other kinds of noise. Unfortunately, they never got the opportunity to see their careers into the alternative age they spawned as an automobile accident ripped guitarist D. Boon way too early from this world. During a stellar year for music from the underground by the likes of R.E.M., Los Lobos, The Smiths, The Replacements, Hüsker Dü and so many others, Double Nickels on the Dime still leads the way for me.

Prince & the Revolution – Purple Rain (1984). My goodness, was their ever such a cultural measuring stick than what Prince wrought with this album, movie and set of singles? Honestly, not since The Beatles had a musical artist unleashed such a powerhouse move. This was the moment to which His Purple Badness had been working his whole life. And, then he had attained everything. What was next? The freedom to follow his muse in any direction he felt fit. Of course, the bandwagon jumpers and other hipsters left him the moment he did not release Purple Rain II. But, those who recognized his genius were in for the musical trip of all-time. And, for a moment, Prince was the largest star in a big year for musical stars (I’m talking about Michael, Madonna, The Boss, Van Halen, Wham!, etc.).

And that wraps up Day 1 for 1984. Until next time, follow the words of the prophet Casey Kasem when he said, “Keep your feet on the ground and keep reaching for the stars.” Peace.

By the end of this blog entry, I will have listed 511 albums in this list of 1000 LPs. That means there will be 489 albums from 1984 through 2019. It seems unfair, but I do believe the foundations of today’s popular music can be found in the past. It’s like a genealogy tree for a family. You can find bits and pieces from the past that influence how the current generations act. Plus, Eighties music simply ruled!

Anyway, let’s get this thing rolling.

Stevie Ray Vaughan – Texas Flood (1983). SRV burst onto the scene with the hot licks he added to David Bowie’s Let’s Dance album. But, he made even bigger waves by turning down a featured place in Bowie’s touring band that would have given Vaughan major exposure. The sticking point? Stevie wanted to be the opening act to pimp this very able. Bowie, probably fearing being upstaged by this young hotshot blues guitarist or maybe feeling SVR was making the correct career choice, said no. So, SRV went out on his own and the rest is history. Sadly, Stevie Ray Vaughan would be dead, and his blues rock revival that he was single-handedly spearheading went dormant until Gary Clark Jr. finally came along.

The Pointer Sisters – Break Out (1983). You know, The Pointer Sisters just don’t get enough love from history. Initially, this group had four sisters who were combining disco with Forties-styled vocal group. Then, a few years later, sister Bonnie left for a successful solo career, but it was the trio that remained who really tore up the charts. First, they hit with a smoldering cover of a Springsteen cast-off song called “Fire.” After that, the hits began to roll in, until they released this appropriately titled album, and break out they did. The sisters had huge hits, such as the altered vocals, which made them sound like Stevie Wonder, on “Automatic” and the unofficial 1984 Olympics anthem “Jump.”

The Police – Synchronicity (1983). Here’s the commercial peak of The Police, as well as their swansong. Once they conquered the world, they simply imploded. Yet, if you read the lyrics to many of the songs on this album, you can hear impending doom, At the time, you felt the lyrics were about personal relationships, and maybe they were. But, as hindsight can be, maybe they were describing the tensions within the band itself. Either way, it made for great art. While it may not represent their best album, it is their most mature and confident statement of their illustrious career.

The The – Soul Mining (1983). Now, we kind of look at this album as a bit pedestrian within the context of this band’s experimental dance/pop/rock catalog. However, back in 1983, let me tell you this was cutting edge new wave being married to dance beats and post-punk rock indifference. And, even though this band is really a studio concoction of Matt Johnson’s genius, I was taken aback by his pop instincts on this album. Of course, later albums would be much more mind-blowing, but the cult status of The The had to begin somewhere and this is the place.

Tom Waits – Swordfishtrombones (1983). After having gone as he could with his latter day version of Hoagy Carmichael shtick, Waits purged his management, label and sound for a more experimental sound that was sparse and eerie. Waits had come under the spell of musician Kurt Weill and vocally began channeling Howlin’ Wolf via Captain Beefheart to create a how new sound. This album represents the change in direction as he left behind the nighttime barflies that dominated his lyrics in the past for a far darker and more surreal set of characters who all challenged what was “normal” in the music of the day. It’s simply haunting and beautiful all at the same time. But, then again, I do have a very dark side despite my love of sunny pop music.

U2 – War (1983). It was on this album that U2 positioned themselves, unknowingly at the time, to fill the void that The Clash were about to open. The sincerity that rang through the band’s first two albums started to be pointed directly that themselves and their beloved Ireland. This was a band who were not only idealistic but pissed off as well. They took stock of their environment and were pointing their collective fingers at everyone, including themselves. “Two Heart Beats as One” showed the band’s softer pop side. And we all know how righteous and urgent the band sounds on “Sunday Bloody Sunday” and “New Year’s Day.” But, the heart of the band generally, and this album specifically, can be found in the song “40,” a musical rendering of Psalms 40. This is a band actually wearing their hearts on their sleeves without any sense of irony during a time of high irony.

UB40 – Labour of Love (1983). This album of reggae cover songs made a big critical splash at the time. It was actually one of the first reggae albums in my collection. I remember playing this album for people when we were simply sitting around and talking, making fantastic socializing music. Initially, my biggest surprise was discovering that their cover of “Red Red Wine” was actually that song by Neil Diamond that had been reworked Jamaica-style by Tony Tribe, whose version UB40 thought they were covering. However, the biggest surprise for me was that it took FIVE years before “Red Red Wine” took off commercially. I was happy and pissed at the same time. Happy that this great band was finally being discovered but pissed because they had released many terrific albums and songs that got overlooked by the public in the interim. Go figure!

Violent Femmes – Violent Femmes (1983). I came home from Wisconsin in August 1983 just singing the praises of this Milwaukee band called the Violent Femmes and their classic eponymous debut album. And, basically, it fell upon deaf ears. I’m not sure why because this acoustic-based punk album was perfect fodder for the disaffected youth of America, especially the males. Today, you heard “Blister in the Sun” everywhere, but back in the day, you couldn’t get a radio station to play the band. My wife hates this album, but she was never the band’s target audience. Let’s just say that a movie like Superbad could have never been made without this album coming first.

Yes – 90125 (1983). So, Asia had hit the big time with a streamlined Prog rock sound the previous year, and Genesis was following a similar path. King Crimson had added new guitarist Adrian Belew of Frank Zappa and Talking Heads’ touring bands, to update their sound. So, instead of fading into the background, Yes made a similar move by bringing in a young fan-turned-guitar whiz in Trevor Rabin who helped the band forge a path with an updated sound along with help from former Buggle and Yes member-turned-producer Trevor Horn. Together, Yes became a major act again by embracing Eighties production techniques and technology and, once again, streamlining their musical meanderings. Believe it or not, this music tweak paid off in spades for Yes.

ZZ Top – Eliminator (1983). Are you beginning to catch on to the common thread running through this spate of Seventies bands who found much success once again in the Eighties? It was all about discovering how to incorporate new technologies into their music. Many Prog rock bands were the first to do this and find commercial and financial success. But, it was absolutely mind-blowing and shocking to hear one of the great blues bands ever embracing synthesizers in order to rework the calculus behind their music. And, ZZ Top pull it off in spectacular fashion with this fantastic album of space-age blues.

And, that, my friends, wraps up 1983. Next, we are on to 1984, which becomes the transition year for me personally from unruly, irresponsible man-child to a about-to-graduate-and-become-an-adult man. So, until next time, peace.

Let’s simply get to the music today.

John Cougar Mellencamp – Uh-Huh (1983). This is when Mellencamp took back his name AND found his sound, kind of a Stones stuck in the middle of America sound. Everything about this album screams Midwest, down to the language and syntax of his lyrics. Today, John is more of a troubadour in the vein of Woody Guthrie or Pete Seeger, but back in 1983, he was the rock & roll hero of Middle America, and specifically Indiana.

Journey – Frontiers (1983). Journey solidified its hold on America with their AOR sound that incorporated light touches of R&B. Former Babys keyboardist Jonathan Cain really exerts more of an influence on the music than he did on Escape which pushed the band further into the pop realm. As usual, Steve Perry’s unparalleled vocals were the true star here. No matter how many vocalists the band thinks can replace Perry, there is just something missing in them that Perry possesses. For some reason, I can hear the difference, and I’m tone deaf.

Lionel Richie – Can’t Slow Down (1983). There was a moment in time, from around 1977 to 1986, during which Lionel Richie could do no wrong musically. The guy was everywhere, and this album was his most complete solo album. Honestly speaking, I still enjoy his Commodores stuff more, but this album remains a pretty tasty LP. By the way, I remember telling my wife back when we were first dating that “Stuck on You” was about us. And, for some reason, she thought I was making some sort of sophomoric perverted joke when I was being serious. Too funny!

Madonna – Madonna (1983). Initially, this album was bought by club-hoppers and aerobics instructors. Then, the mainstream heard it, and the rest is history. No matter how many great albums she would release in the future, none would compare to the earthshaking quality of this album on a college campus.

Marshall Crenshaw – Field Day (1983). Okay, I was very skeptical when I heard that Crenshaw hired Steve Lillywhite to produce this album because I felt Lillywhite, who was known for his drum sound on U2’s first couple of albums, would squeeze out Marshall’s pop sensibilities as he almost did to XTC on English Settlement. And, while his emphasis on the muscular drums are still there, Crenshaw’s songs were so good that I don’t think anyone could have ruined them. Still, I wish he had gone with a more sympathetic producer to make this album, such as Mitch Easter and/or Don Dixon who had just produced R.E.M.’s debut album.

Mötley Crüe – Shout at the Devil (1983). The times were a-changing quickly. New Wave was cresting at the time, and in its wake was coming a sleazy, glam mix from Sunset Strip that is now called glam metal, or derogatorily hair metal. Perhaps, the best band on the Strip was Mötley Crüe. Their mix of Aerosmith raunch, Kiss theatrics and Van Halen pop metal was perfect for the times. I remember being annoyed by the freshmen down the hall in the dorm blaring “Look That Kill” every day at 1 PM. Still, the album did rock.

New Order – Power, Corruption & Lies (1983). From the ashes of Joy Division rising like a Phoenix was New Order. The rest of the band picked up where the former band left off, only emphasizing the electronic pulsing sound of synthesizers, sequencers and drum machines to create the dance sound of the Eighties. And, instead of the self-obsessed lyrics of the now deceased Ian Curtis, New Order ironically went after the power structure of Eighties economics and relationships.

Quiet Riot – Metal Health (1983). Trivia question: What metal act was the first to have a number one album on the Billboard Top 200 Albums chart? It was not Sabbath, Deep Purple, Rainbow or solo Ozzy. It was the first Sunset Strip band to hit it big, Quiet Riot. That’s right! These guys hit paydirt on their debut album behind their rockin’ version of Slade’s glam classic “Cum on Feel the Noize.” This was the right album at the right time. Just ask the two idiots who lived next door to me in the dorm who played this album over and over.

R.E.M. – Murmur (1983). As quietly and nondescript as possible, R.E.M. burst onto the college rock scene to up end the status quo. Hailing from the college town of Athens, Georgia, who also spawned The B-52’s, R.E.M. paid their dues while developing a sound that relied equally upon a reverence for the jangling guitar sound of vintage Byrds and the CBGB sounds of Patti Smith and Television. These guys were obviously talented musicians who spent most of the spare moments in a record store soaking in all the favorite sounds of the clerks. Mix in the art vision of the mumbling lyrics of Michael Stipe, who view his vocals to be just another instrument in the band’s sound, which took the band to a whole other level. This began the whole alternative rock underground scene across the whole. After R.E.M. came through, The Replacements, Hüsker Dü, Camper Van Beethoven and the rest followed.

Run-D.M.C. – Run-D.M.C. (1983). In rap history, there was rap being built upon the foundation of disco and funk. Then, there was rap after Run-D.M.C. built their beats upon rock, specifically metal. And instead of spittin’ rhymes in a laidback manner that went with the flow of the music, Run-D.M.C. came out like lions, their voices roaring trading not just verses, but words AND syllables in a verse in a manner that only punctuated the sparse by emphatic beats. This was the revolution homing in on the now obvious connection between the two extremes of music, rap and metal. And, nothing was the same again.

Stay tuned for the third and final installment of 1983 coming to this blog soon. Peace.

Back in my college days, Ball State really only had three big weekends. The first two took place in the fall and the other in the spring. During the fall, you, of course, had Homecoming in October, which could be a crazy weekend. The other fall event was an event sponsored by a fraternity called Watermelon Bust. Finally, the spring event was Bike-A-Thon, a bicycle relay race similar to Indiana University’s Little 500. Of course, there were other activities, but these were the Big 3.

My junior year there was the funnest year of my life. It spanned the years 1983 and 1984, but nothing compared to it for sheer selfish behavior. Upon my return to BSU for that third year, a group of guys asked me to join their Watermelon Bust team. Of course, I had participated with a team my sophomore year and knew what I was getting myself into. You see, this event is simply a reason to party with watermelons. The big event is a team of five people join together to compete in five four-man relay events with watermelons, along with a watermelon-eating contest with your fifth member.

Now, our team consisted of four guys all around six-foot tall, three of us former guards and track runners and the fourth a small forward/football quarterback with our watermelon eating wonder another smaller guy who could eat like no one else his size. The night before the Bust, we stole some dorm sheets, dyed them green and pink, thinking they’d like watermelon togas. Of course, the five of us were taking shots as we did our artwork. The next day, we got each other up at 10 AM for a little “pre-game” drinking to get ready for this thing which was starting at noon. Of course, we had a nice pre-game breakfast of beer over cereal. Not your normal game day meal, but, hell, we were stupid college kids.

So, now that we were warmed up, we put on our togas and headed to the Duck Pond (a retention pond) where there used to be an open area for the Bust. When we got there, we met up with the emcees, a hot new pair of DJs in Indianapolis on the most popular radio station by the names of Bob and Tom. That’s right. Those old guys who still have a coast-to-coast show that still broadcasts from Indy. Anyway, those guys, who were hammered as well, immediately started making fun of our togas, saying we looked like strawberries, which we did. Throughout the day, the verbally hassled us on the mic as they emceed the Bust.

Remember, our team was a bunch of former basketball players, and the relay events were basically basketball skills done with a watermelon: running with the watermelon held between your legs, rolling the watermelon across the ground, pushing the melon with your forehead, etc. Well, after we won the first two events, Bob & Tom began the trash talking about us, continuing the strawberry taunt. When we won the third and fourth relays, Bob says, “And the Strawberry Fairies win again!” And, we embraced the nickname, instead of using our dorm hall name even after they refused to sponsor us.

Now, the championship was in our sights. But, we wanted complete domination. That’s when our watermelon eater, also named Scott, comes running over to us to tell us he won that event too! His secret was to bite big hunks of watermelon, squeeze all the juice out of the bite and swallow, seeds and everything. He said he dominated. Now, we knew we had this thing in the bag.

The last event was to push the watermelon with our heads in relay form. We started with a walk-on track guy Glenn, followed by another former track guy Smitty. The third leg was my roommate and former QB1 Bruce, and I anchored, only because the guys said I had to anchor because I could push the melon with my large nose. I’d like to say it was close, but it wasn’t. But the time I got the melon, we had half-a-straightaway lead. But, since I am such a competitor, I went controlled but fast. When I crossed the finish line, I picked up the watermelon, walked over to where Bob & Tom were, and smashed the watermelon right in front of them. Of course, that delighted the DJs to no end and continued to egg us on. They immediately gave us a melon that had been soaking the entire three hours of the event with vodka in it. It goes without saying that the five Strawberry Fairies tore into it, making an Animal House-like spectacle out of it.

You know what? We won this four-foot tall trophy for being the overall campus champs. No kidding! Of course, now, the damn dorm wanted the trophy to display it forever. And, we refused to give it to the dorm until they met our three demands. First, we wanted our fifty dollar entry fee reimbursed. Next, we wanted our team picture, which I cannot find, displayed with the trophy. Finally, we wanted a guarantee from the Dormitory Advisor that our dorm room parties would not be busted for the rest of the quarter, which meant 10 weeks of hassle-free fun. Quickly, the dorm council said they would met our first two demands but were never going to agree to the third demand.

So, the trophy was passed around our rooms for a week at a time. Since Bruce and I were the only roommates, we had that thing in our room for two straight weeks. That trophy became mostly a coat tree, underwear tree or a clothesline. Finally, after four weeks, the Dorm Council relented, unofficially to our third term. Now, we had our “get out of jail free” card. We each got our 10 bucks back, our official Bob & Tom team picture was put up with the trophy, our double-secret party pass was quietly made known to all and we became folk heroes for a quarter. We were three weeks into the 1983-84 school year and things were looking up for us. Believe it or not, it got better.

So, what were we listening to that year? Here we go!

Billy Idol – Rebel Yell (1983). If you didn’t listen to Idol back then, you just weren’t cool. Billy married the whole punk attitude and energy with metal riffs and looks, and it was perfect for the time. This was the testosterone-driven party music of the day.

Culture Club – Colour by Numbers (1983). The first time I saw a Culture Club video, I could not decide if the lead singer was a male or female. Then I stopped worrying about it and just listened to the music. When the band released their sophomore album, they became a force of pop nature. Boy George had the voice of a modern day Smokey Robinson, while the band took their Motown-lite-reggae sound to the top of the charts. Truly, pure pop for now people.

Cyndi Lauper – She’s So Unusual (1983). When comparing Cyndi and Madonna back in the day, I would have wagered millions of dollars on Cyndi being the long-term success, mainly because she had the better voice. Well, I was wrong, but Cyndi did leave us with this terrific pop/rock album, with the college girl Eighties anthem “Girls Just Wanna Have Fun.” Oh, and she even covered Prince (“When You Were Mine”)!

David Bowie – Let’s Dance (1983). For the first time, David Bowie wanted to be a commercial success. So, he teamed up with producer Nile Rodgers, discovered a guitar whiz-kid named Stevie Ray Vaughn and brought him on board and recorded some excellent pop/rock songs with a Bowie-bent that sold through the roof. Sure, the album isn’t his best, but, hell, even this was way better than the rest of the crowd it never mattered. One of the albums of the Summer of ’83.

Def Leppard – Pyromania (1983). I used to LOVE to make fun of the Leppard and still do, if the truth be told. But, I have to give it to the guys to follow producer Matt Lange’s lead and create some excellent glam metal. If only all the hair metal bands could have been this good. I still don’t know why we needed Bon Jovi when we had the guys.

Eurythmics – Sweet Dreams (Are Made of This) (1983). Androgyny was everywhere in 1983, but no one turned it upside down like Annie Lennox of the Eurythmics did. This was the first of two excellent albums released by the duo in 1983. Everyone, and I mean EVERYONE, knows the title song. But, don’t overlook “Love Is a Stranger,” which is more like the band than the former. And, don’t pigeonhole this band as a synthpop band, as you will hear on future albums.

Eurythmics – Touch (1983). The great UK duo of Dave Stewart and Annie Lennox knocked it out of the park with this album. Wow! What tremendous growth the duo displayed as the took the icy sound of Kraftwerk and melded it seamlessly with the Stax/Atlantic soul sound of Annie’s powerhouse vocals. This album is breathtaking in its depth.

Genesis – Genesis (1983). Phil Collins continued his winning streak as he assumed more creative control over the former prog rock band. Now, the most commercially successful iteration of the band was not only creating excellent albums but actually having pop hits in the USA. I would argue they were staying true to their prog background by incorporating the sounds of new wave and world music. It was prog for a new generation.

Huey Lewis & the News – Sports (1983). I am not sure how I feel about these guys. They seem like nice enough fellas, but their music isn’t challenging. But, damn, they play it with conviction. Plus, Huey’s a damn good vocalist. Oh, give them their due, Keller! These guys hit the Springsteen-lite zeitgeist at just the right moment. Wait! Better yet, they were Mellencamp-lite. No matter! They did it well on this album. Plus, “I Need a New Drug” was everywhere on campus.

Iron Maiden – Piece of Mind (1983). Everyone’s favorite underground metal band of the moment hit paydirt once again. Now, with a new drummer in Nicko McBrain, Maiden’s rhythm section became much more nimble than before, allowing the band to go in all kinds of time signature directions. This is a much heavier and darker Rush people.

By the end of 1982, I was a seasoned college sophomore and active member of my fraternity, though neither qualify as lines on my resume for this. You see, instead of running cross country, indoor track and outdoor track for the possibility of HALF of a scholarship, I took the route of working in a dormitory for some cash. During my freshman year, I mopped and polished the cafeteria floors, which was very interesting since you never knew what the idiots would do with their food. Perhaps, the biggest pastime seemed to be the launching of butter pads to see if they would stick to the ceiling. By the end of the week, those butter pads would melt and the paper would litter the floor, which meant I had to spend an hour every other Friday sweeping that crap up before spending another five hours polishing the floor in a futile attempt to keep the cafeteria clean.

As a sophomore, I moved up to a job in the dishroom, loading the trays of dirty dishes, glasses and silverware into the dishwasher. Now, there were five students in that line, with two scraping the plates into food disposals, the dish loader, the dish unloader and a person who took care of the silverware. Since we were only seen by the other students when they brought their trays back, we were free to do stupid things. Most notably, we were known to sing “American Pie” at least every other day. All it took was one of us to start the song, then we’d all take off. Our dishroom drove most of the women who worked in the cafeteria as their jobs crazy. However, there were a couple of them who loved our antics. The best part of working back there was you had the ability to hit on girls and invite them to parties. That’s why my roommate and I could have some major dorm room parties, since we both worked in that dishroom.

Then, the following year, my roommate and I moved onto the frontline, which was dangerous on so many levels. First, he and I had the same job but on two different lines. So, we competed to see who could successfully take the largest stack of trays out to the beginning of the line in the cafeteria. Now to successfully navigate the course, you have to first back the stack which was on a cart up out of the dishroom. Then you had on 180-degree turn to make, two 90-degree turns AND go through a door that pushed outward. Finally, you have to push that cart into place by backing it in. At any point, your stack could come tumbling down.

Well, needless to say, we dumped many a cart. And, when that happened, one whole side of the cafeteria would stand up and applaud. But, if you could get a tall stack that was six feet or higher out there, the applause could be deafening, hence the whole reason for the competition in the first place. I think we both got stacks eight-feet high out to the line successfully. But, any higher, and the trays would go flying everywhere.

Now, my roommate was a huge flirt. He flirted with every female in the place, including the older women who worked there. He was smooth, because he would sing a slow song, for example “Sexual Healing,” walk up to a college lady working with us in the cafeteria, and twirl her to begin slow dancing with her, while students were waiting in line for their food.

So, what does this have to do with the music of 1982? Absolutely nothing. Remember, my mind just goes off into tangents unrelated to any topic often. Simply, you gotta learn to enjoy the ride, if you can. Let’s wrap up 1982.

The Alan Parsons Project – Eye in the Sky (1982). First off, Alan Parsons has worked on some noteworthy albums during his illustrious career and an engineer and producer, most notably The Beatles’ Abbey Road and The Dark Side of the Moon by Pink Floyd. Then, with his band, he created the great album Tales of Mystery and Imagination: Edgar Allan Poe. But, in 1982, he created one of the all-time greats in Eye in the Sky. Plus, where would the Nineties Chicago Bulls have been without their pre-game starting lineup introductions featuring the Project’s instrumental “Sirius”? Plus, the band’s biggest hit ever was the title song. Listen to the album and pick out the Pink Floyd influences.

The Clash – Combat Rock (1982). This album ended up being the epithet of a great band that could have become what U2 ended up being. This album only hinted at what directions this great band was heading, as Mick Jones was diving head first into hip hop culture, the rhythm section of bassist Paul Simonon and drummer Topper Headon were becoming one of rock’s finest and no one compared to frontman Joe Strummer this side of Freddie Mercury. You could hear it all coming together, but it just wasn’t to be. Headon got lost in smack. Jones got kicked out of the band for some stupid reason or another. And Strummer and Simonon were convinced by their egotistical manager to return to their punk roots after they had outgrown a past moment. This album truly only hints at what the band could have done. What a shame!

The English Beat – Special Beat Service (1982). The Beat started as yet another ska band from the UK, peers of The Specials and Madness. But, the creative minds of the band were evolving far beyond their ska beginnings. And, this album reflects that growth and tension that eventually fractured the band into two successful bands by the names of General Public and Fine Young Cannibals. To my ears, this album is where No Doubt picked up and ran with the sound, which was a great place to start. This is a very underrated album.

The Human League – Dare (1982). The ambitions of The Human League were high as the band went into the studio to record this landmark album. Their intention was to create a synthpop album that played like a rock album. And, the band succeeded in spades. This is a synthesizer album that has all the mood changes of a classic rock album. Plus, the album contains the enduring new wave hit song “Don’t You Want Me.”

The Jam – The Gift (1982). I know that Jam fans in the UK will argue with me on this one, but I love a good argument. It had leaked out that this album was going to be the band’s swansong, so expectations were high. And when the hype gets unreasonably big, then everyone is ready to tear apart the product. I just recently listened to the album for the first time in a decade, and you know what? It’s not as bad as critics think. Actually, it’s a damn good album with some surprising soul flourishes that now makes sense in Weller’s need to transition to The Style Council. To me, this album might just be the perfect Mod record.

The Psychedelic Furs – Forever Now (1982). The Furs were definitely influenced by Bowie and Roxy as much as they were by punk. And, using the production of the great Todd Rundgren only helped the band hone their influences into something truly unique and interesting. In retrospect, I think the band considers this album to be their finest in their terrific catalog. Plus, their hit single, “Love My Way,” was so different and more compelling than 95% of what was on radio at the time that it clearly stood out. Well done boys!

The Time – What Time Is It? (1982). The Time is the best, tightest funk band of the Eighties. If Prince were playing Dr. Frankenstein, then The Time represented his monster that he could no longer really control after this album, though try he did. The first album only hinted at what this band could do, but touring only strengthened this lineup. And, this album was the outcome. Once again, it is a shame that Prince’s ego clashed so violently with that of the band, in particular Jimmy Jam, Terry Lewis and Morris Day. I am serious about this, The Time deserves its place in the Rock & Roll Hall of Fame! Hell, I haven’t even mentioned the talent of the others in the original lineup, drummer Jellybean Johnson, guitar wizard Jesse Johnson, keyboardist Monte Moir and, of course, valet Jerome Benton.

Toto – Toto IV (1982). This is Yacht Rock at its best. Toto was a band consisting of some of the biggest session players from LA. These guys had played on sessions for everyone, including Steely Dan and Michael Jackson. And, this album was the band’s big coming out party. “Rosanna” was a big hit, but everyone knows “Africa” now. The album is loaded with many great songs.

Wall of Voodoo – Call of the West (1982). You all know this band. Ever heard the song “Mexican Radio”? Now that I have your attention, go find this slightly obscure album. This band crawled out of the LA punk scene with a very Captain Beefheart-influenced sound set within some pop structure. It made for some very compelling music that landed the band an opening slot on Devo’s 1983 tour.

X – Under a Black Sun (1982). Oh, man, what a great band X was! Unfortunately, the masses never caught on with them. Back in the Sixties, I think X would have been huge, just as they would have been in the Nineties. The simply were a band out of step with the times. This album represents their last one on the legendary independent label Slash. After this one, their sound got diluted a bit.

Yaz – Upstairs at Eric’s (1982). After penning Depeche Mode’s first hit song, “Just Can’t Get Enough,” keyboardist Vince Clarke struck out on his own. He teamed up with powerhouse vocalist Alison Moyet, and together they created this landmark synthpop record. Their big hits were “Only You” and “Don’t Go,” two tasty synthpop hits. My big question is this: Is the band’s name Yaz or Yazoo? Half the world knew them as Yaz and the other half as Yazoo. Was the difference really do to potential confusion of the band’s name Yaz with the nickname of Red Sox great Carl Yastrzemski? I really don’t know the answer to this mess. No matter if the duo was Yaz or Yazoo, this album is awesome.

Next up, one of my personal favorite years, 1983. Until next time, peace.

This list of mine keeps changing weekly. Some of the albums I had chosen fell out only to be replaced by better long-players. Needless to say, this list tends to be a breathing document. Plus, I only take the list through 2019, so there are some potential classics from this year that will be left off.

One more thing: during this pandemic, please do me a favor and wear a mask that covers your mouth AND nose. It’s not just protection for you but for your neighbor as well. As you know by now, I have degrees in biology, with an emphasis on microbiology (the closest thing Ball State had for a microbiology degree) and a minor in chemistry. My second degree is in medical technology, which allowed me to work in clinical laboratory environments. And although I did leave that profession behind for teaching, I did not stop learning. If I am to be honest, I chose microbiology over genetics only because microbiology seemed as if I had done the subject before. Maybe I was a microbiologist in a previous life or, as I believe, I was simply wired for it. Whatever the reason, I do know that this virus, while not the Level 5 Armageddon-type of virus, is an extreme health risk. Former students of mine who are now physicians all think this is one scary virus as it actually obliterates your lungs and may cause long-term problems in your immune and cardiovascular systems, in addition to your pulmonary system (of which your nose plays an important part of). So, please wear a mask. Your personal freedoms end when you place at risk the freedoms of others.

Sorry, enough of my sermon upon my soapbox. Let’s do some music from 1982.

Iron Maiden – The Number of the Beast (1982). As you all know, I am not a big metalhead, but Maiden is definitely one of the best metal bands in history. There is no denying their musicianship. And, these guys can put on a show, as my older son can attest. But, this album represents their critical and commercial breakthrough. No longer were they just another talented member of the New Wave of British Heavy Metal banner, which was a stupid name. These guys were the real deal, nimbly marrying the speed of punk, Eddie Van Halen/Thin Lizzy-twin guitar attack, pop melodies, Sabbath-like dark lyrics and a touch of Rush prog into the sound of metal for the Eighties.

Joe Jackson – Night and Day (1982). Three years prior, Jackson was following Elvis Costello and others in the angry young man rock category of punk and new wave. He released three excellent albums in this vein. Then, out of the clear blue, Jackson released an album of big band-era songs that showcased the depth of his true talent. That’s why Jackson fans were not shocked by the late night NYC jazz sound of this album. This album was the perfect tonic for the after-party crowd at two or three in the morning. It is simply a mature statement by a very talented artist.

Marshall Crenshaw – Marshall Crenshaw (1982). The world was ripe for someone to bring power pop back in a big way. And into that void comes a former member of the travelling show Beatlemania to the rescue. Seriously, I listened to this album all summer and fall of that year. It remains one of my favorite albums of 1982 and all time. This album should have been HUGE, and I still don’t understand why. All the people at the record shops I frequent back in the day were pimping the album. It plays like a greatest hits album. I would rank this album right with The Cars and Boston as the greatest debut albums of my generation.

Marvin Gaye – Midnight Love (1982). Unfortunately, as fate played out, this album was Gaye’s last album created during his life. But, he went out on top, both creatively and commercially. This album plays as a more mature view of relationships with the sensuality of Let’s Get It On. And “Sexual Healing” remains a standout song.

Men at Work – Business as Usual (1980). The world was primed for this Australian band’s pop take on The Police’s sound. They softened the punk-cum-reggae fury of The Police, added some terrific pop melodies and off-kilter lyrics that proudly showcased their Australian sensibility, and took the sound to the top of the charts. “Who Can It Be Now?” and “Downunder” remain classic Eighties songs, but the rest of the album is outstanding as well. It’s a shame they couldn’t hang on to their momentum.

Michael Jackson – Thriller (1982). Everyone knows this album and all the stories behind it. You know, the Moon Walk, the videos, the fact that Columbia Records forced MTV to play his videos which opened the doors for black artists to gain traction on the channel, yadda, yadda, yadda. What remains is a killer album. Back in college, you could not escape the dance songs on this album at parties and clubs. That’s what I focus on these days, not the other crap. As one friend used to say in back then, “Michael was the shit!” That’s right!

Pete Townshend – All the Best Cowboys Have Chinese Eyes (1982). When Townshend released this solo album, he was coming off a big success with his previous solo album Empty Glass. However, Townshend was reeling from alcoholism and the death of Who drummer Keith Moon. The Who was doing new albums and touring, but they were not the same without Moon. So, rather quietly, Townshend released this album. It wasn’t a big seller, but I rather liked it. This was a man in pain, and I found the album rather cathartic. I still love the song “Slit Skirts.” That one does not get enough love these days.

Prince – 1999 (1982). The other monster album from 1982. Record 1 of the double album was required at every party for two years running. And as great as Thriller is, that was just pop when compared to the underground feel of this album. This was the sound of Prince actually ascending to the throne. And, if we are comparing the two, Prince had everything on Jackson since he could play every instrument on his albums. For me, that was case closed.

Richard & Linda Thompson – Shoot Out the Lights (1982). So, Fleetwood Mac made their divorce album a huge hit back in 1977. However, nothing was as raw as this album by British guitar god Richard Thompson and his soon-to-be former wife Linda. This album, while beautifully played and produced, is absolutely heart-wrenching to listen to. At the time, after witnessing the dissolution of my parents’ marriage, this album was simply too much for me. Yet, I still recognized its greatness. As the years have passed, the emotions evoked on this album are still tough to swallow, no matter how exquisite it sounds. Yet, it does stand the test of time.

Roxy Music – Avalon (1982). In this age of new wave and all the other sounds Roxy had birthed a decade earlier, the band made their sound more ethereal which struck an even deeper chord with listeners my age. If you want to understand the enduring status of this album, watch the Amazon Prime series Red Oaks which is a coming-of-age story set in the mid-Eighties. It is an excellent series, and Avalon plays a role in the lives of a couple of the characters. It is just a fantastic album.

Stray Cats – Built for Speed (1982). As I have stated previously, by the time the Eighties rolled around the rules set by the Boomers were being overturned. So, it stands to reason that in the midst of all of the technology being integrated into music, there would be a band that would go back to the early days of rock and immerse themselves into rockabilly, the forerunner to rock and roll. And, that’s just what the Stray Cats did. They also went to the UK to jump-start their career before riding the MTV wave into stardom here in their homeland. This was a party album just looking for a party. There is nothing like the site of a 6-foot-5-inch, 245-pound defensive lineman going crazy dancing to “Rock This Town.” Nothing.

Talking Heads – The Name of This Band Is Talking Heads (1982). Oh, the critics just love the Talking Heads’ live soundtrack Stop Making Sense, but if you truly want to get a feel of not only the Heads as a live act but also the evolution of the unit according to the increasing complexity of their music, this is the album. I much prefer this album because the performances are less studied and more raw. This album is the live album in which to enjoy the Heads.

And that brings us to the end of Day 2 for 1982. Stay tuned for Day 3. Peace.

Once the calendar changed to 1982, things changed for me. Early in the year, I now had a quarter and a half of college under my belt, so I was totally immersed in the environment. And, most of the best music was becoming popular as well, especially as MTV’s influence was being felt. Popular music was undergoing a massive shift in demographics, as Generation X became the target audience, much to the chagrin of older Boomers. So, with a new demographic comes a whole new set of musicians to enter the world. And, the message to the older acts was to adapt or get left behind.

I would be remiss if I did not mention that 1982 introduced to us the mega-selling album that would spawn not just a hit or two, but multiple hits. The shortlist for 1982 releases include Thriller, 1999, American Fool, Asia and Business as Usual. Not only that, but 1982 was the year of Prince and his stable of artists, The Time and Vanity 6.

Let’s take a look over the next few days at the albums of 1982.

ABC – The Lexicon of Love (1982). One trend of the early MTV days will be how many artists will repackage the classic Sixties Motown sound for a whole new generation. ABC was one of the first acts to crossover with this updated sound. The band also through in touches of disco and rock to make the whole package fresh. This album is a tour de force, but the band would try to constantly move beyond this sound in the future only to realize this was their wheelhouse. Just watch what follows in their wake over the next couple of years.

Adam Ant – Friend or Foe (1982). So what’s a man to do when your former manager, Malcolm McLaren of Sex Pistols fame, steals your rhythm section for a new band called Bow Wow Wow? Well, you circle the wagons, write some excellent songs, and bust out on MTV with a little ditty called “Goody Two Shoes.” that’s what.

Asia – Asia (1982). The much-hyped first supergroup of the Eighties actually lived up to the hype. Asia consisted of former members of Yes, King Crimson, Emerson Lake & Palmer and new wavers The Buggles (via Yes), and what the band created was a streamlined version of prog rock. Gone was the instrumental noodlings that the music of the post-punk era was reacting against, and in its place was a watered-down version of Rush’s Moving Pictures. And, it was a very successful move. Unfortunately, the band kind of moved into self-parody on subsequent albums. But for one glorious summer, they represented the sound of the future.

Bruce Springsteen – Nebraska (1982). As the Seventies ended, America was left tattered and out of confidence. Society was in the middle of a seismic shift that was going to fundamentally change its landscape. And, when you are The Boss, you recognize it and chronicle it. Therefore, this album reflected this new reality more starkly than ever before, mainly because Springsteen mostly left his E Street Band off the record. Basically, we got his first acoustic-based version of his songs of the underbelly of the American Dream. Finally, someone from the mainstream was drawing the same conclusions as much of the rock underground saw: this new America was using an economic version of Darwin’s natural selection to push the “undesirables” further down. This album actually set the stage for his mega-stardom in a couple of years.

Daryl Hall & John Oates – H2O (1982). By the time this album rolled around, Daryl and John could have released an album of farts and it probably would have sold millions. Fortunately, the duo was still at the top of their game and gave us arguably what might have been their last truly fantastic album. Here, they relied on their band’s outstanding chemistry, terrific songwriting and their standard clean production to create some enduring rock and soul classic songs, such as “Maneater,” “One on One” and “Family Man.”

Dexys Midnight Runners – Too-Rye-Ay (1982). Unfortunately, here in the States, you hear the band name of Dexys Midnight Runners, and a vast majority will think one-hit wonder. That’s right! “Come on Eileen” is that hit song from the album. Unfortunately, that song’s enduring popularity has overshadowed what a fantastic album it comes from. Seriously, leader Kevin Rowland concocted a sound that married American soul with some Celtic folk and mysticism that recalled Van Morrison at his very best a decade ago. Hell, they even had to the audacity to cover Morrison’s “Jackie Wilson Said (I’m in Heaven When You Smile)” to perfection. Take your damned REO album from that year off your turntable and throw this one on. You will NOT regret it.

Donald Fagan – The Nightfly (1982). So, by 1982, Steely Dan was on indefinite hiatus. So, Fagan threw together a little solo album that reminded everyone how great Steely Dan was. The difference was that this was a streamlined sound (there is a theme here, isn’t there) and the lyrics were more wistful and less cynical. Whatever the formula changes were made, they were truly magical.

Duran Duran – Rio (1982). The Beatles of the Eighties made quite an album here. This was cutting edge dance pop/rock at the time. And, of course, the little girls understood, as did the boys who were hitting on those girls at the time. But, you know what? This album stills sounds great today. The synths are icy in the right places, the bass pulses with danceable fluidity and the lyrics were definitely post-modern. And, there are just too many hits to list here.

Elvis Costello & the Attractions – Imperial Bedroom (1982). When I saw Elvis a few years ago, he was playing many of these songs from this album. He was talking about how much anticipation this album faced and even sarcastically called it the “Summer’s Feel-Good Album of 1982.” This album is Elvis’ Blood on the Tracks album, done with the elegance and grace of an English man with a cynical wit, a poisoned pen and a encyclopedic knowledge of music could only do. It’s not the punk sound of half a decade ago, but the fury is still present in the lyrics. You can cut the tension on this album with a knife.

George Clinton – Computer Games (1982). What happens when drugs make your empire crumble? Well, you start hanging out with younger guys who are in touch with the new technologies of the day, turn them loose in the studio to sample and create loops, and learn how to funk in the cocaine haze of the Eighties. And, what we got was the rebirth of a funkmaster. I still love to blast “Atomic Dog” out of my Escape as much as I did with my Volkswagen Rabbit back in the day.

Grandmaster Flash & the Furious Five – The Message (1982). Here we go people! This is the first rap album worthy of inclusion. Hip hop was a singles category until Flash & the Five unleashed this album. Of course, the album is known for the title song, and rightfully so. “The Message” is arguably the most important hip hop song of all-time, but this album is full of great music. This band is so important to rock, not simply hip hop. After this great album, the world got turned on its collective head.

And, that brings us to the end of Day 1 of 1982. Catch ya later! Peace.

Welcome to the third and final day for 1981. As I write this, I do so with a very heavy heart as my fantastic father-in-law passed away yesterday while in the final stages of renal failure. He was 94, though he lived the last six years with a very broken heart after the love of his life, my mother-in-law, passed away. However, all the mischief we caused is what I will remember the most about him, and how the chaos of seven crazy grandchildren could never get under his skin. And, no matter how many times he was giving me a premium beer to drink, Fall City or Burger is still NOT a premium beer! I’m going to miss you Don! Godspeed my friend!

Now, for something a little different.

Stevie Nicks – Bella Donna (1981). From the sound of radio throughout my first two quarters at Ball State, Stevie Nicks was the biggest artist on the planet. If I had just a nickel every time “Edge of Seventeen” was played, I’d have been a millionaire and quit school. And, then there were two other hits from her solo debut in her duet with Don Henley “Leather and Lace,” and her bid to become a member of Tom Petty & the Heartbreakers on “Stop Draggin’ My Heart Around.” However, it was the deep cuts like the title track and “After the Glitter Fades” that made this album so deep and hauntingly beautiful. This is what primo Stevie Nicks is all about.

The Clash – Sandinista! (1981). So, how does a band followup one of rock’s greatest albums, let alone double albums? Well, by making one of the most sprawling, self-absorbed experimental triple albums of all-time. This is definitely Rock’s Most Important Band’s own White Album. You can find all kinds of crap being thrown at the proverbial wall just to see what sticks, making for an album that is at times frustrating, incomplete and thrilling. This album reeks of pills, weed and coke, with a little horse thrown in for good measure, but in a somewhat good way.

The Go-Go’s – Beauty and the Beat (1981). By 1981, the world was ready for an all-female band who could write their own songs. And, into that void walks a group of five women who took the energy of punk and married it with the pop songs of the Sixties, and their sound took over America. The Go-Go’s were veterans of the LA punk scene yet somehow got marketed as the girls next door, which was contrary to their actual personalities. Still, they had the goods, got noticed as an opening act on The Police’s tour that year and took off to the stratosphere. Unfortunately, their management rushed them into the studio, while success drained them, and they imploded from the outside pressures. Still, their music, and this album specifically, remains the calling card of the band, and they deserve a place in the Rock & Roll Hall of Fame immediately.

The J. Geils Band – Freeze Frame (1981). Finally! In 1981, The J. Geils Band got the big commercial success the band had always seemed destined for but never attained. You could not escape this album on the Ball State campus if you wanted to. It was the perfect party record, sounded great on the radio and was loaded with such memorable songs as the title song, the number one hit “Centerfold,” the party blow out number “Flamethrower” and the drunks’ favorite “Piss on the Wall.” This was the pinnacle for Geils.

The Police – Ghost in the Machine (1981). Although many thought this album was a letdown from Zenyatta Mondatta, I personally wore the damn album out. I just could not get enough of “Every Little Thing She Does Is Magic.” I saw the band on tour supporting this album with Joan Jett as the opening act. Of course, the band’s performance was outstanding. Yet, somehow, I just knew the band would blow up in a huge way on their next album. Sometimes, I hate it when I’m right, and other times, I bask in it. This will be a time in which I basked.

The Waitresses – Wasn’t Tomorrow Wonderful? (1981). That’s right! That band who created the enduring Christmas anthem called “Christmas Wrapping” actually had a very noteworthy album before they released that yuletide tune. This Akron, Ohio band was following the path Devo set with this wonderful album of new wave pop/rock songs. Although these cheeky feminist songs were sang by Patty Donahue, the songs were actually written by guitarist Chris Butler. The band had the perfect lineup to bring Butler’s songs to life. And although The Waitresses are known as a one-hit wonder due to the success of the immortal “I Know What Boys Like,” the band was much deeper than their status would lead one to believe.

Tom Petty & the Heartbreakers – Hard Promises (1981). This was the album that made me fall in a lifelong Tom Petty fan. When you hear the line, “Oh baby don’t it feel like heaven right now, don’t it feel like something from a dream,” you know this is not just another rocker. Only gods write lines like that. Oh, and I love “A Woman in Love (It’s Not Me),” “A Thing About You” and “Letting Go,” but for my money, the greatest song on this album is the band’s duet with Stevie Nicks called “Insider.” I still wish I had kept my English 101 theme paper I wrote about that song. That was my long-lost masterpiece.

Tom Tom Club – Tom Tom Club (1981). While David Byrne and Brian Eno were playing with loops and samples and fellow Head Jerry Harrison was off making a Talking Heads-sounding solo album, the husband-wife rhythm section of drummer Chris Frantz and bassist Tina Weymouth took off with Tina’s sisters, the expanded Talking Heads touring musicians and some other hangers-on to the Caribbean. There, the musicians picked up where Remain in Light left off, sprinkled in sounds from the NYC dance clubs and lots of influence from the NYC hip hop community to create a whole new sound that would go on to influence both pop and hip hop well into the 21st century. And, mainly this is due to the lasting effect of their great hit song “Genius of Love.”

Triumph – Allied Forces (1981). I have often unfairly described Triumph as Rush-lite. Well, the band is Canadian, is a trio and plays a more direct version of prog/hard rock. But, they put everything together for this album, especially the standout song “Magic Power,” which is simply immortal in my book.

Tubes – The Completion Backward Principle (1981). What’s a satirical performance art rock band supposed to do in the conservative world of Ronald Reagan. Well, they first team up with a budding producer of some of soft rock’s biggest names in the form of David Foster, dress like a bunch of business corporate raiders and indulge themselves into the world of faceless AOR sounds, leaving behind none of their punk rock attitude. Finally, the band got the airplay they always craved all the while remaining as subversive as ever. The joke was on the listener who thought they were discovering a great new band along the lines of Styx or Loverboy.

X – Wild Gift (1981). Perhaps the best LA punk band of the era, X hit their stride as a band on their sophomore release. Former Doors keyboardist Ray Manzarek produced this album that went further in merging the punk sound and fury with even more standard rock sounds. This remains one of rock’s best second albums, with or without their classic anthem “White Girl.”

And, that, my friends, wraps up 1981. See you next time with the start of 1982 and the MTV Age. Peace.